Not exact matches
THE
SHOT After six months of persistent phone calls, photographer Michael S. Tierney gained access to the base,
where he captured this portrait of the B - 2 in the intense,
low - angle
light of the setting sun.
It's funny how my photo aesthetic has changed through the years, there was a period
where I loved back
lighting, an all white background time, a period
where everything was
shot with
low aperture and it was all about the bokeh, till now
where my photos are all
shot on a wide angle lens and has a lot more messyness in the background.
There's a certain class of
low - budget indie filmmaking that's become almost its own recognizable style — full of ordinary people just trying to find happiness in unorthodox ways, hand - held close - up
shots, montages of locations (easily recognized if you live in the area
where they're
shot, but not particularly tied to the story, which could take place anywhere) with
light music underneath, a tendency to shift focus amateurishly (though I think often on purpose as part of the style), a lot of contemplative pauses and awkward conversations.
The plot here is entirely predictable but as with Ozu's family dramas the real meat is in the film's visual aesthetic and cultural context, at once captured most intensely during a scene
where Teresa witnesses a financial crisis - related suicide with all the suddenness of an Alfonso Cuaron action sequence and Chen captures her jaded shock by
shooting her from
low angles through
light - heavy filters.
I've
shot two photos in a shaded area near
where we are, and although this is not «
low -
light» (as in «party / diner»), the auto focus already had a hard time keeping up with the subject.
It's worse in
low -
light situations,
where you have to stay steady a good two seconds after you press the shutter button to make sure the
shot isn't blurry.
The camera's software tricks like «best
shot» and a
low -
light mode (
where you've got to hold the phone still for a couple seconds) can help out in some instances, and the shutter fires fairly quickly.
The phone holds its own in daylight conditions, but it's in
low -
light shooting modes
where the camera truly shines.
Software processing has progressed to the point
where low -
light photos rival point and
shoot camera output (though mirrorless and DSLRs are still better by a large degree), and OIS helps keep away the blur.
In
low light, image quality does suffer at 5x magnification, so restrict the use of the digital zoom if you can to
shooting outdoors or in bright
light,
where it performs best.
The 16mp camera is performs great in outdoor
light, without oversharpening and good saturation, close to the actual colors, however the same can not be said about the
low -
light shots where you have to be very careful with positioning according to
lighting to be able to get decent
shots.
Low light and night photos often turn out blur because the camera needs more time to capture the
light from the scene compared to daytime
shots where there is a lot more
light.
The presentation also showcased impressive
low -
light shots taken in full auto mode, not manual mode, and this is
where the Honor View 10 could pull ahead of many other phones in its price category.
In daylight, the iPad Air iSight is pretty good, whether for standard
shots, macros, or high - dynamic range (HDR) It's in
low -
light where its weaknesses are revealed.
Where noise reduction is effective, however, texture and fine detail preservation is fairly
low, and you can expect noticeably more noise when
shooting movies in
low light.
The camera quality could be better, especially in
low -
light shots where it loses a lot of detail.